“You’re more ready to believe a parent who has never set foot at the pool and the words of a five-year-old girl…”
Archimedes’ principle posits that “any object, wholly or partially immersed in a fluid, is buoyed up by a force equal to the weight of the fluid displaced by the object” but Catalan playwright Josep Maria Miró i Coromina’s Archimedes’ Principle, receiving a UK premiere at the Park Theatre, explores what happens when the reciprocal force overwhelms the original. At a local swimming baths, an accusation about one of the coaches is made by a child. Parents are already on edge due to a recent incident at a nearby youth centre and in this day and age of unabating coverage of paedophilia cases and the instantly mobilising forces of social media, the situation rapidly deteriorates into bedlam.
But rather than present us with a play about sexual abuse, Miró explores something much more fascinating about the nature of truth and the way that even the most pernicious of accusations can insinuate their way into rational minds. We get the child’s version of events, we get to hear young coach Brandon’s explanation of what happened, but the playwright doesn’t come down on one side or the other. Instead we jump around in time, playing and replaying scenes which take on different meanings once an alternative position has been expressed. Thus we see how the reaction to even just the merest hint of paedophilia is just as dangerous, if not more, than the thing itself. Continue reading “Review: Archimedes’ Principle, Park Theatre”